By Kester Rattenbury
This isn't really Architecture assembles architectural writers of other types - historians, theorists, newshounds, machine video game designers, technologists, film-makers and designers - to debate the features, cultures, barriers and bias of different forms of media, and to accumulate an issue as to how this complicated tradition of representations is developed.
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This isn't structure assembles architectural writers of other forms - historians, theorists, reporters, machine video game designers, technologists, film-makers and designers - to debate the features, cultures, obstacles and bias of the various sorts of media, and to accumulate a controversy as to how this advanced tradition of representations is developed.
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Extra info for This is Not Architecture: Media Constructions
For the architectural designer, photographs can provide a rich resource and stimulus. The fact that photography became available at the height of the Gothic Revival and of the taste for 33 On the origins of architectural photography the Picturesque made this especially evident. 10 Publications addressing the growing interest in the Gothic Revival and Picturesque architecture emphasised pictorial effects of massing, contrasts of light and shadow, texture and colour, and richness of ornament, all of which could be captured more effectively by the camera than by the draughtsman and engraver.
Yet, the early use of sections betrays a fascination with the role of buildings as gnomons or shadow tracers. 7 The coordination of the Vincenzo Scamozzi, Villa Bardellini shown vertical and horizontal sections of the buildas a shadow tracer, from his treatise L’Idea ing reveal light and shadow as constitutive of dell’Architettura Universale (1615) the architecture’s symbolic order, very much 10 Alberto Pérez-Gómez in the spirit of Vitruvius, who had introduced gnomons as one of the three artefacts within the province of architecture, together with machinae and buildings.
Today we recognise serious problems in our post-industrial cities and our scientistic way of conceiving and planning buildings. e. , the personal imagination), with its fictional and historical narratives. It is imperative that we do not take for granted certain scientific assumptions about architectural ideation, and that we redefine our tools in order to generate meaningful form. Philosophers at the origins of our tradition perceived projection as the original site of ontological continuity between universal ideas and specific things.